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      ‘Ren Faire’ Is ‘Succession’ With Turkey Legs

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      An engrossing documentary debuting Sunday on HBO, it chronicles a Renaissance festival impresario’s effort to find a worthy heir.George Coulam, known as King George to his acolytes, in a scene from “Ren Faire.”HBO“Ren Faire,” an engrossing and inventive three-part documentary that debuts on HBO Sunday at 9 p.m., centers on George Coulam, founder of the Texas Renaissance Festival. King George, as everyone calls him, claims he wants to retire; he believes he’ll live for another nine years, and he has a vision for how he wants to spend this remaining time.“I wanna do art and chase ladies,” he says. If only he could find a worthy heir.Coulam comes across as part Logan Roy, part Joe Exotic — cruel, charismatic, driven and able to inspire fealty even as he dispenses bitter nastiness. (He has an assistant maintain his profiles on sugar-daddy websites and asks all dates, within moments of meeting them, if they have breast implants.)People on the show compare him to Willy Wonka and King Lear, and he says he followed Walt Disney’s playbook for land acquisition and political strategy. One employee weeps with glee upon meeting him, and others curtsy when he walks into their office. He’s not a king! you want to shout. He’s just some guy! But I guess someone wants to shout that about every king.George’s ambitious underlings strive for his intermittent approval and prostrate themselves, enduring petty humiliations only to crawl back and beg for more. The most debased and tragic is Jeff, who, with his wife, has worked at the fair for decades. He gets frustrated with her comparative lack of loyalty to the king, even as George pushes them both aside. “Just say that you serve George,” he insists, past the point of banter.Later, as Jeff schemes and stresses, she asks him earnestly, “Is it folly?”“Of course it’s folly!” he bellows, his voice shaking. Usually these kinds of lines are heard only in particularly farcical episodes of “Frasier,” but here they are both laughable and heartbreaking.There’s something ridiculous about renaissance fairs, and so there’s something ridiculous about “Ren Faire,” which blends hallucinatory nightmare sequences and fiery cinematic moments into its nonfiction. Those clever additions echo the agreed-upon dumb fantasy of renaissance fairs: Nay, my lord, this meager pub be all out of Red Bull.Directed by Lance Oppenheim and produced by Benny and Josh Safdie among others, “Ren Faire” depicts and embodies a Möbius strip of truth and grandiosity. The fair really is Jeff’s life’s work, as he says multiple times; it really is George’s gilded isolation chamber; it really is a business and a dream. Things can be silly and true and meaningful at the same time. Huzzah. More

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      Charles Barkley’s Barbs on ‘Inside the NBA’ Infuriate and Fuel Players

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      With the future of “Inside the NBA” in flux, athletes say their respect for Barkley means his unsparing evaluations are a rite of passage.When Charles Barkley, the quippy commentator on TNT’s “Inside the NBA” studio show, grew tired of Draymond Green’s aggressive on-court antics several years ago, he made it exceedingly clear that he wanted to punch Green in the face.Green responded during a postgame news conference by calling Barkley’s bluff, telling the Hall of Fame player known for his rebounding prowess to “shut up.” “No one cares what you would have done,” Green said. “You old, and it is what it is.”Verbal jousting in response to Barkley’s wisecracks has been commonplace during his two-decade tenure on “Inside the NBA,” which is in jeopardy of ending as soon as Thursday night because competing networks are negotiating for the N.B.A.’s media rights.Green, a four-time N.B.A. champion, said in an interview that any wounded feelings spoke to the reverence players have for Barkley and his colleagues, the former players Shaquille O’Neal and Kenny Smith, and the veteran host, Ernie Johnson.“It’s almost like a rite of passage,” Green said of being criticized or praised by basketball heavyweights on national television. “I think N.B.A. players look to that show for validation, and that’s a reason so many guys could get upset when things don’t go their way.”Shaquille O’Neal, Ernie Johnson, Kenny Smith and Barkley on an “Inside the NBA” broadcast in 2013. O’Neal and Barkley are Hall of Fame players.Issac Baldizon/NBAE, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      No Sophomore Slump for ‘We Are Lady Parts’

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      The comedy about a Muslim punk band returns for a raucous encore.For the early punks, many of them white British blokes, their music was about declaring themselves outside the larger society. The Sex Pistols dreamed of “anarchy for the U.K.” The Clash howled for “a riot of my own.” To be punk was to give offense, to make one’s self unpalatable, to choose to stand apart.But what is punk when your society has already made you an outsider? This is the musical question that the raucous, cheeky comedy “We Are Lady Parts,” returning Thursday for its second season on Peacock, seeks to answer.The first season, back in 2021, introduced Lady Parts, a punk band of Muslim women in London: Saira (Sarah Kameela Impey), the caustic lead singer; Ayesha (Juliette Motamed), the fearsome drummer; and Bisma (Faith Omole), the earth-motherly bassist. Together with their manager, Momtaz (Lucie Shorthouse), a savvy Malcolm McLaren in a niqab, they recruit a reluctant lead guitarist, Amina (Anjana Vasan).Amina is no one’s idea of a rock star, least of all her own. She is an introverted microbiologist who worships Don McLean, with a severe case of stage fright that causes her to heave her guts while performing — and not in a defiant, Iggy Pop way. (Vasan gives Amina an engaging nerd-hero energy, similar to Quinta Brunson in “Abbott Elementary.”)Over the six-episode season, Amina finds that Lady Parts gives her a way of defining herself rather than being defined, whether by the conservative suitors who tell her “Music is haram” or by her free-spirited mother (Shobu Kapoor), who wishes Amina would wait to seek a husband.The root conflicts of “We Are Lady Parts” are familiar rock-band woes — having no money, having no gigs, being judged by family and by hipsters. This is where making the series about Muslim women rockers accomplishes more than representational box-ticking: It makes an old story new and nuanced.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Best True Crime to Stream: ‘Dirty John,’ ‘The Puppet Master’ and More

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      Four picks across television, film and podcasting that explore a devastating, yet slippery, type of manipulation.The concept of “coercive control” entered the lexicon about a decade ago and has become an increasingly prevalent theme in the true crime genre. Pioneered by Evan Stark, a researcher and expert on domestic abuse, it refers to a pattern of abusive behavior and manipulation — including isolation, humiliation, financial abuse, stalking and gaslighting — used to dominate a partner. Men are most often, but not always, the abusers.Coercive control “is designed to subjugate and dominate, not merely to hurt,” Stark, who died in April, said in a London court in 2019 while testifying on behalf of a domestic abuse victim who’d murdered her husband. She, appealing her conviction, was subsequently released from prison.Here are four picks across television, film and podcasting that show how this form of psychological abuse, though hard to prove as a crime, ruins lives.Podcast‘Sweet Bobby’Because I’ve watched every episode of the MTV show “Catfish,” I thought that this six-chapter investigative podcast from Tortoise Media, which explores a true story in which coercive control overlaps with catfishing (tricking others, often into a romantic relationship, using fake digital profiles), was unlikely to shock me.But the saga — about Kirat Assi, a woman from London whose life was turned on its head for nearly a decade after she fell for “Bobby” via Facebook — still managed to test my tolerance for how little legal recourse the deceived parties have. The story also speaks to why the damage caused by coercive control and by the proliferation of catfishing should not be minimized.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Star Wars: The Acolyte’ Goes Back to the Beginning

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      Her new “Star Wars” show is a dream come true, but she knows it carries enormous expectations. “I would be lying if I said I wasn’t scared,” she said.Leslye Headland has been telling “Star Wars” stories onscreen since she was a teenager. Ostracized at school for being different, she retreated inward, making stop-motion films starring her action figures.So when she found success as an adult in Hollywood — Headland helped create “Russian Doll,” the 2019 Netflix comedy starring Natasha Lyonne — and got the chance to create an actual “Star Wars” show, it was the realization of a lifelong dream.And a chance for humiliating failure. On a galactic scale.“I essentially cold-called Lucasfilm and, after a lot of conversations, found myself pitching a show — utterly elated, my ultimate career goal, the culmination of my fandom,” Headland said. “At the same time, I would be lying if I said I wasn’t scared. There is so much pressure. It’s extreme. I had never done anything this big before.”Headland’s show, “The Acolyte,” will debut on Disney+ on June 4. Costing roughly $180 million (for eight episodes) and taking four years to make, it attempts two feats at once: pleasing old-school “Star Wars” fans — who can seem unpleasable — while telling an entirely new story, one that requires no prior knowledge of “Star Wars” and that showcases women and people of color.For the faithful, “The Acolyte” serves up scads of Jedi, a franchise fundamental that the other live-action “Star Wars” TV shows have depicted sparingly or not at all. The opening scene in “The Acolyte” takes place in an eatery crowded with colorful aliens, a callback to the Mos Eisley cantina from the first “Star Wars” movie, in 1977.Other shout-outs to core fans — we see you, we haven’t forgotten about you — are sprinkled into the dialogue: “May the force be with you” and “I have a bad feeling about this” makes an early appearance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Show That Makes Young Japanese Pine for the ‘Inappropriate’ 1980s

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      A surprise television hit, now on Netflix, has people talking about what Japan has lost with today’s changed sensibilities.The younger generation has frequently called out Japan’s entrenched elders for their casual sexism, excessive work expectations and unwillingness to give up power.But a surprise television hit has people talking about whether the oldsters might have gotten a few things right, especially as some in Japan — like their counterparts in the United States and Europe — question the heightened sensitivities associated with “wokeness.”The show, “Extremely Inappropriate!,” features a foul-talking, crotchety physical education teacher and widowed father who boards a public bus in 1986 Japan and finds himself whisked to 2024.He leaves an era when it was perfectly acceptable to spank students with baseball bats, smoke on public transit and treat women like second-class citizens. Landing in the present, he discovers a country transformed by cellphones, social media and a workplace environment where managers obsessively monitor employees for signs of harassment.The show was one of the country’s most popular when its 10 episodes aired at the beginning of the year on TBS, one of Japan’s main television networks. It is also streaming on Netflix, where it spent four weeks as the platform’s No. 1 show in Japan.“Extremely Inappropriate!” compares the Showa era, which stretched from 1926 to 1989, the reign of Japan’s wartime emperor, Hirohito, to the current era, which is known as Reiwa and began in 2019, when the current emperor, Naruhito, took the throne.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Charles Barkley Has Thoughts on the Future of ‘Inside the NBA’

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      Next season could be the last for TNT’s influential and beloved studio show, and Charles Barkley, for one, will not be going quietly.The future of “Inside the NBA” was already a sensitive topic when Charles Barkley stepped into an elevator in Minneapolis after Game 3 of the Western Conference finals late Friday night. Barkley’s on-air candor as an analyst is a key reason that the studio show has become so influential and beloved among basketball fans and around the league.But these are tense times for the show and those who work on it. Warner Bros. Discovery has not secured the rights to continue broadcasting N.B.A. games on TNT beyond next season. Without those, the long-term future of “Inside the NBA” is uncertain. So when Barkley, who had already batted away several attempts by security and public relations officials to prevent him from doing an interview, ushered me into an elevator filled with his co-workers, not everyone was happy.Kenny Smith, Barkley’s on-screen foil, voiced his irritation. But Barkley, as he has done throughout his decades in the public eye, made clear that he wouldn’t be muzzled.“Hey, man, I can talk to who I want to,” Barkley said to Smith, using an expletive. Others in the elevator shifted uncomfortably.“You should do that out there,” Smith said, suggesting the interview be done outside the elevator.Barkley turned to me: “Don’t worry about him.”“She should clear it through Turner,” Smith said. “She should do it the right way.”Why was it so important for him to talk, I asked Barkley, even if others around him didn’t want him to? He nodded to the impact the uncertainty has on staff members who work on the show. And not just the well-known, on-air personalities: Barkley, Smith, Shaquille O’Neal and the host, Ernie Johnson.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Stream These 12 Movies and Shows Before They Leave Netflix in June

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      Mark Wahlberg and Reese Witherspoon when they were kids-ish, Clint Eastwood as a drug mule on the other side of life, and Meryl Streep in “Out of Africa.”One of the most durable shows of the modern television era leaves Netflix in the United States this month, along with an equally long-lasting horror franchise, a handful of enjoyable genre flicks and several Oscar winners and nominees. (Dates indicate the final day a title is available.)‘The Mule’ (June 16)Stream it here.Clint Eastwood starred in (for the first time in six years) and directed this 2018 mash-up of character drama and road movie, based on the true story of a 90-year-old veteran and great-grandfather who became a drug mule. Eastwood’s fictionalized protagonist makes this career shift because of hard times, financially and emotionally; he has lost his business and his family has turned away from him, for good reason. It’s a complicated character, likable and even empathetic while simultaneously amoral, and Eastwood seems to enjoy exploring those contradictions (and how they intersect with his own). The fine supporting cast includes Bradley Cooper, Laurence Fishburne, Andy Garcia, Michael Peña and Dianne Wiest.‘The Imitation Game’ (June 25)Stream it here.Benedict Cumberbatch stars as Alan Turing, the British mathematician and cryptanalyst instrumental in the development of the first computers, in this sharp and well-acted biographical drama from the director Morten Tyldum. Cumberbatch plays Turing as a socially awkward, endlessly brilliant man who has secrets (including his closeted homosexuality). He tells the story of his life in a police interrogation, with particular focus on his time working with the team that broke the Nazi Enigma code; Charles Dance, Matthew Goode and Keira Knightley are among that group, and they tell a compelling story of mile-high stakes and thorny personalities. Cumberbatch was nominated for an Oscar, one of the picture’s eight nominations (its writer Graham Moore won the prize for best adapted screenplay).‘NCIS’: Seasons 1-11 (June 29)Stream it here.This military police procedural drama, still going strong after a staggering 21 seasons, has never been a favorite of critics. Its fans, though, cannot get enough, making it one of the longest-running shows in TV history, while spawning six spinoffs. (It was a slow starter ratings-wise, achieving its immense popularity several years into its run.) The predictability and formulaic nature of such procedurals, the very qualities that turn off some viewers and critics, are what its fans value. You know exactly what you’re going to get in an episode of “NCIS,” and it’s delivered crisply and efficiently, by actors who get the job done without showing off.‘28 Days’ (June 30)Stream it here.Years before winning an Oscar for “The Blind Side,” Sandra Bullock revealed the first hints of her considerable range in this engaging serio-comic drama from the director Betty Thomas (“Private Parts”) and the screenwriter Susannah Grant (“Erin Brockovich”). Bullock stars as a fast-living New York writer whose functional alcoholism is becoming less functional; she checks into a rehabilitation facility only when ordered to do so to avoid jail time for a D.U.I. As Michael Keaton did in 1988’s “Clean and Sober,” Bullock allows the loose formula of the rehab narrative to stretch her acting chops without eschewing the charm and charisma that made her a movie star. It’s a scrappy, alive performance, and Steve Buscemi provides able support as the counselor who has seen it all before.‘A Nightmare on Elm Street’ (June 30)Stream it here.With this 1984 exploration of terror, dreams and the American suburbs, Wes Craven created one of the finest horror pictures of the 1980s, and one of its most popular boogeymen, Fred Krueger (Robert Englund). Krueger, a long-dead child murderer, begins invading the dreams of teenagers, resulting in their grisly deaths. Heather Langenkamp is a charismatic protagonist, while Johnny Depp makes a memorable feature film debut as her beau. Several of the film’s numerous sequels (and its ill-advised 2010 remake) also leave Netflix this month; “A Nightmare on Elm Street 3: Dream Warriors” is probably the best of the bunch, though the second and fourth installments have their fans.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More